Solo Piano by Composer

Solo Piano by Composer Solo Piano by Composer

Albéniz, Isaac (1860–1909)

• España Op. 165 (Weitzmann)...................................................EP 4946

Prelude, Tango, Malagueña, Serenata,

Capricho Catalan, Zortzico

Albright, William (1944–1998)

• The Dream Rags.....................................................................EP 6611 Sleepwalker’s Shuffle; The Nightmare Fantasy Rag (A Night on Rag Mountain);

Morning Reveries • Three Original Rags............................................................EP 66920 On the Lamb; The Queen of Sheba; Onion Skin

Aldridge, Robert Livingston (*1954)

• Three Waltzes.......................................................................EP 68347

Armstrong, Kit (*1992)

• 3 Impressionen for piano, left hand.....................................EP 14009 • Snowfall Fading .......................................................EP 12867

Bach, Carl Philipp Emanuel (1714–1788)

• Solfeggio ............................................................EP 11635

C.P.E. Bach’s Solfeggio (also commonly known as Solfeggietto) provides a thrilling sprint for the fingers around the keyboard in 60 seconds of pure musical energy.

The title, referring to the solfège exercises commonly given to singers, indicates a piece that is designed to develop technique. But the panache with which Bach flies through the scales and arpeggios of this piece make it both a satisfying and highly-effective practice piece as well as a reliable concert showstopper for pianists moving past the first stages of learning.

This new Urtext edition has been produced by the internationally renowned C.P.E. Bach expert Wolfram Enßlin and brings together the highest level of musicology with a beautifully prepared and practical edition.

Contains a preface and critical commentary in German, English and French. Bach, Johann Sebastian (1685–1750)

• Air in D

from the Orchestral Suite No. 3 BWV 1068.............................EP 7110

Arranged for Piano (Johnson)

(Christoph Wolff)

Complete Hardcover Premium Edition ...........................................EP 11500

In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court’s Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music.

The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father.

Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces – by Bach and other composers – to play or sing, early composition efforts from the children, and first versions of some of Bach’s more ambitious keyboard works.

What is usually presented as ‘the’ Anna Magdalena Notebook is a set of excerpts from the 1725 collection. The scholarship that informed the New Bach Edition in 1957 has been greatly developed and expanded since then.

Now, for the first time, Edition Peters presents a new Urtext edition of the Notebooks for Anna Magdalena Bach.

This premium edition offers a truly best-in-class publication.

• Contains all the material from the 1722 and 1725 notebooks together in one volume, in the original landscape format • Edited by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive • Represents the very latest in Bach scholarship, reflecting up-to-the- minute research on texts, authorship and copyists • Extensive preface, detailed critical commentary, and beautifully engraved notation

• Hardcover clothbound edition with gold embossing

(Christoph Wolff)

Selections .........................................................EP 11501

Drawn from Christoph Wolff’s new and cutting-edge scholarly edition of the complete Anna Magdalena Notebooks, Edition Peters is proud to present a new volume of shorter and easier pieces from the notebooks, perfect for practical use by students of all ages and their teachers.

• Urtext edition by pre-eminent Bach scholar Christoph Wolff, Harvard

Professor and former Director of the Leipzig Bach Archive • Represents the very latest in Bach scholarship, reflecting up-to-theminute research on texts, authorship and copyists • A selection of the most popular pieces from the two notebooks in a practical student edition • Contains works for keyboard and vocal pieces, following the practice of musical education and performance in Bach’s home

Bach, Johann Sebastian et al. (1685–1750)

• Notebook for Wilhelm Friedemann Bach 1720

(Christoph Wolff)

Complete Hardcover Premium Edition ..........................................EP 11502

• First new Urtext Edition for 60 years • Landscape format, optimal for piano and keyboard players • Premium linen binding • Bibliophile edition • Brandenburg Concerto

No. 3 in G BWV 1048............................................................EP 7889

Arranged for Piano (Johnson) • 16 Concertos based on works by Other Composers

BWV 972–987 (Czerny / Griepenkerl)........................................EP 217

Vivaldi, Telemann, Marcello etc.. • English Suites BWV 806–811..................................................EP 4580

A, A min, G min, F, E min, D min • French Suites BWV 812–817

& French Overture BWV 831 ...........................................EP 11443 (Bartels)

This new edition of Bach’s French Suites (BWV 812–817) pairs these works with the large-scale French Overture in B minor (BWV 831) from the second part of the Clavier-Übung. It brings together on the one hand six essentially small-format keyboard suites of moderate difficulty and on the other the most extensive and substantial of Bach’s sets of suites

The player is provided with as clear and comprehensible a score as pos sible, and makes it easier to approach the work, while those of an aca demic bent can refer to the Editorial Report for a documentation of sources, editorial additions and ornaments of a comprehensiveness otherwise found only in critical complete editions. • Goldberg Variations..................................................................EP 4462

BWV 988 (Soldan) • Inventions & Sinfonias (2 & 3-part Inventions)

BWV 772–801 (Bartels)

Complete ..............................................................EP 11422 15 Two-part Inventions

BWV 772–786 ....................................................................EP 11242 15 Three-part Sinfonias

BWV 787–801......................................................................EP 11420

Bach’s two-part Inventions and three-part Sinfonias (BWV 787–801) have come down to us in an autograph fair copy dated 1723. The Inventions in particular are of merely moderate difficulty and occupy an important place in piano teaching to this day. In terms of their overall organization, the 15 pieces can be seen as leading on to the Wohltemperiertes Klavier.

In keeping with normal practice, they were initially distributed in the form of handmade copies, with regular reference to the autograph. The present Urtext edition is based on Bach’s autograph as well and has been compared against the NBA. In some of the pieces, the composer himself added additional ornaments at a later stage but did not otherwise undertake significant alterations. In every respect, this new edition of the collection therefore represents an authoritative musical text, without amendments or additions deriving from contemporarysecondary sources.

The Editorial Report gives details regarding textual criticism, the nature of the manuscript and the later additions.

• Italian Concerto BWV 971 .....................................EP 11240 (Bartels)

Johann Sebastian Bach’s “Concerto in the Italian Style” has been one of his most popular works ever since its publication in 1735. It surprises by its clarity and architectural mastery without posing inordinate demands on the player’s technique.

No original manuscript sources survive, but we do have Bach’s personal copies of both versions of the original printed copies.

Our new urtext edition replaces the previous Edition Peters volume and is based on the second impression of the original printed copy, corrected by Bach himself.

• “Jesu Joy of Man’s Desiring” ................................................EP 264b from the Cantata BWV 147 Arranged for Piano (Mansfield) • Partitas BWV 825–830 (Soldan)

Vol. 1: Nos. 1–3 BWV 825–827.............................................EP 4463a

B-, C min, A min Vol. 2: Nos. 4–6 BWV 828–830.............................................EP 4463b

D, G, E min • The Well-Tempered Clavier (48 Preludes & Fugues)

Vol. 1: Nos.1–24 BWV 846–869..........................................EP 4691a (Kreutz)

Vol. 2: Nos.25–48 BWV 870–893...........................................EP 4691b (Keller) • Prelude and Fugue in C BWV 846........................................EP 73151

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• 24 Short Preludes & Fugues ...............................................EP 200a

BWV 895, 899–900, 924–930, 933–942, 952–953, 961, 999 (Keller) • Toccata & Fugue in D minor BWV 565.................................EP 7109 Arranged for Piano (Johnson) • Chaconne in D minor ..........................................EP 7436 from Partita No.2 for Solo Violin

Bach transcribed Busoni (Banks)

This edition is truly indispensable for everyone engaging with this most monumental of transcriptions.

The location of Busoni’s autograph is not known, and so our editor, Paul Banks, makes a meticulous assessment of all the earlier printed editions.

Crucially, this edition also presents variant readings in accordance with Busoni’s own piano roll recording, which reveal some substantial deviations from the standard printed text.

In his editorial commentary Paul Banks also points out that, although piano roll recrodings cannot gie any certainty about tempo in absolute terms, they do give instructive insights into the tempo relationships between sections as adopted by Busoni.

Beethoven, Ludwig van (1770–1827)

• Concerto No. 3 in C minor Op. 37.....................................EP 2894cc Arranged for piano, simplified and abridged (Fisher) • Concerto No. 4 in G Op. 58................................................EP 2894dd Arranged for piano, simplified and abridged (Fisher) • Concerto No. 5 in E- Op. 73 ‘Emperor’..............................EP 2894ee Arranged for piano, simplified and abridged (Fisher) • Diabelli Variations Op. 120.....................................................EP 4476 • 6 Ecossaises WoO 83;

12 German Dances WoO 8..................................................EP 4336 • ‘Für Elise’ WoO 59 (Album Leaf)...............................................EP 7097

• Musical Souvenirs for Piano..............................................EP 11634 Für Elise in A minor WoO 59; Piano Sonata No. 14 in C# minor Op. 27; No. 2 (‘Moonlight Sonata’), 1st movement; Symphony No. 5 in C minor Op. 67, 1st movement (arr. Otto Singer); Piano Concerto No. 3 in C minor Op. 37, 2nd movement (arr. NoelFisher); Piano Concerto No. 4 in G major Op. 58, 1st movement (arr. Noel Fisher); Piano Concerto No. 5 in Eb major Op. 73, 3rd movement (arr. Noel Fisher); Overture to the opera ‘Fidelio’ Op. 72 (arr. Richard Kleinmichel); Ode ‘To Joy’ after theSymphony No. 9 in D minor Op. 125, 4th movement (arr. after Otto Singer)

Specially produced in association with the Beethoven-Haus Bonn for the 250th Anniversary of Ludwig van Beethoven’s birth, this souvenir collection of some of his most famous pieces and movements allows us to rediscover the joy of experiencing the full range of his music in the home and through our fingers, just as millions of amateur musicians got to know and love this music in the days before recordings.

The volume contains original works for piano, such as the ever-popular Für Elise, and expert arrangements of orchestral movements, such as the first movement of the Fifth Symphony and the Ode to Joy from the Ninth Symphony.

Beautifully illustrated, and with introductions to all pieces, this handsome book comes in a practical landscape format. Edition Peters enjoyed a close working relationship with Beethoven, as the original publisher of his First Symphony among other works.

The book also tells the fascinating story of the connection between Edition Peters and the most famous portrait of Beethoven by Joseph Karl Stieler.

Walter Hinrichsen and staff of C.F. Peters Corporation, in downtown 1950's New York, discussing the original world famous Stieler portrait of Beethoven, hanging in their office. The portrait now proudly hangs in the Beethoven Haus in Bonn. • Sonatas (Arrau/Hoffmann-Erbrecht)

This remarkable edition contains the insights of one of the most revered

Beethoven pianists of modern times, Claudio Arrau.

Beethoven’s own fingering is indicated, where extant. Otherwise, Arrau offers his own instructive and sometimes unusual solutions.

Vol. 1: Nos. 1–15 Opp. 2–28..................................................EP 8100a Vol. 2: Nos. 16–32 Opp. 31–111.............................................EP 8100b

• Sonata No. 1 in F minor

Op.2 No.1 (Fischer) ............................................................EP 4001a • Sonata No. 8 in C minor

Op. 13 “Pathétique” (Fischer)...........................................EP 4008a • Sonatas No. 9 in E & No. 10 in G .

Op. 14 (Fischer)...............................................................EP 4009&10 • Sonata No. 14 in C sharp minor

Op. 27 No. 2 “Moonlight” (Fischer)........................................EP 4014

• Sonata No.17 in D minor

Op. 31 No. 2 ‘Tempest’ (Fischer)..........................................EP 4017 • Sonatas No. 19 in G minor & No. 20 in G

Op. 49 (Fischer)...............................................................EP 4019/20

These two “little” sonatas were composed much earlier than their high opus number might suggest, roughly at the same time as the Sonatas Opp. 7 and 10. Both are laid out in two movements, lightweight in their compositional fabric, and relatively easy to play.

As Beethoven composed both works for teaching purposes, they are an ideal introduction to his music for student pianists, both young and old. In his informative preface, Johannes Fischer chronicles the interesting publication circumstances of these Sonatas. He goes on to consider why the first published edition of Op. 49 No. 2, presumably authorised by the composer, had a somewhat puzzling and unwonted paucity of dynamic markings.

• Sonata No. 31 in A flat Op. 110

Op. 110 (Fischer)..................................................................EP 4031a • 6 Sonatinas (Köhler/Ruthardt).................................................EP 1231

E-, F min, D, C, G, F • Sonatinas & Easy Sonatas ....................................EP 9420 Sonatas Op. 49 Nos. 1 & 2; Op. 79; 6 Sonatinas in E-, F min, D, C, G, F; 2 Sonatina movements WoO 50 • Symphony No. 5 in C minor Op. 67 ....................................EP 7419 (arr. Singer) • Complete Variations (Hauschild/Erber)

Vol. 1:.....................................................................................EP 298aa Opp. 34, 35, 76, 120; WoO 71, 65, 80

Vol. 2:.....................................................................................EP 298bb

WoO 63, 69, 70, 68, 72, 73, 75, 76, 66, 77, 64, 78, 79 • Variations Op. 120 ‘Diabelli’......................................................EP 4476

Bizet, Georges (1836–1875)

• Chants du Rhin.........................................................................EP 3599

Blake, Eubie (1887–1983)

• Capricious Harlem.................................................................EP 68339 (William Bolcom)

“Capricious Harlem, from the mid-thirties of the last century, fits into the genre of American salon pieces, like Signorelli’s Park Avenue Fantasy, or de Rose’s Deep Purple, which were popular at that time. Eubie Blake wrote it out in a much simpler version than he actually played it, and my version is largely a reflection of his own performance. Eubie always said it was incumbent on a musician to make his own version of a piece like Capricious Harlem - not just to play ‘THE notes’, as he always said - but I added extremely little to his own version, and when I played it for him he heartily approved: ‘It’s your piece now, kid!’ I dedicate my transcription of Capricious Harlem to his memory.” (William Bolcom)

Borodin, Alexander Porfiryevich (1833–1887)

• Petite Suite............................................................................EP 4320

Bortkiewicz, Sergei (1887–1952)

• Ballade Op. 42; Elegy Op. 46..............................................EP 8543 Piano Works (Seeman/Stephenson)

Vol. 1: Sonatas......................................................................EP 8200a Sonatas in C Op. 1; F# min Op. 2; F min Op. 5

Vol. 2: Variations...................................................................EP 8200b ‘Schumann’ Variations Op. 9; Variations on an Original Theme Op. 21 No. 1; Variations on a Hungarian Song Op. 21 No. 2; Variations & Fugue on a Theme by Handel Op. 24;

Paganini Variations Op. 35

Vol. 3: Collected Shorter Pieces.........................................EP 8200c

Scherzo in E- min Op. 4; 4 Ballades Op. 10; 16 Waltzes Op. 39; 8 Pieces Op. 76

Vol. 4: Collected Shorter Pieces.........................................EP 8200d 2 Rhapsodies Op. 79; 7 Fantasies Op. 116; 3 Intermezzi Op. 117; 6 Pieces Op. 118; 4 Pieces Op. 119

Vol. 5: Miscellaneous Works...............................................EP 8200e Variations in D min on an Original Theme (from Sextet for Strings Op. 18); 2 Sarabandes & 2 Gigues; Waltzes Op. 39 Nos. 1–16 (simplified version); Hungarian Dances Nos. 1–10; Gavotte after Gluck; 5 Studies (Bach, Chopin, Weber); 51 studies • 4 Ballades Op. 10....................................................................EP 8973 (Seemann/Stephenson) • Eight Piano Pieces Op.76.......................................................EP 8941 (Seemann/Stephenson) • 7 Fantasies Op. 116.................................................................EP 8943 3 Capriccios & 4 Intermezzi (Seemann/Stephenson) • 3 Intermezzi Op. 117................................................................EP 8944

E-, B- min, C+ min (Seemann/Stephenson) • 6 Pieces Op. 118.......................................................................EP 8945 4 Intermezzi, Ballade, Romance (Seemann/Stephenson) • 4 Pieces Op. 119.......................................................................EP 8946 3 Intermezzi, Rhapsody (Seemann/Stephenson) • 2 Rhapsodies Op. 79................................................................EP 8942 (Seemann/Stephenson)

• Chaconne in D minor ...........................................EP 7436 from Partita No.2 for Solo Violin

Bach transcribed Busoni (Banks)

Cage, John (1912–1992) • Piano Works 1935–1948.....................................................EP 67830 Quest; Two Pieces (1935); Metamorphosis; A Room; Ophelia; Two Pieces (1946); In A Landscape; Dream

• Prepared Piano Music 1940–1947

Vol.1................................................................................EP 67886a Bacchanale; And the Earth Shall Bear Again; In the name of the Holocaust; Primitive; Tossed As It is Untroubled; Our Spring Will Come; The Perilous Night

Vol.2..................................................................................EP 67886b Root of an Unfocus; Prelude for Meditation; The Unavailable Memory of; A Valentine Out of Season; Spontaneous Earth; Mysterious Adventure; Daughters of Lonesome Isle; Music for

Marcel Duchamp • Works for Piano, Prepared Piano

and Toy Piano, 1933–1952............................................EP 68030 Totem Ancestor; The Seasons; Suite for Toy Piano; Waiting The following pieces published for the first time: Three Easy Pieces; Jazz Study; Ad Lib; Triple Paced (First Version); Triple Paced (Second Version); Soliloquy

• 4’33” (Tacet Edition)..................................................................EP 6777 • 4’33” (Proportional Notation)...................................................EP 6777a • 4’33” Centennial Edition..........................................................EP 6777c

A special edition produced to mark John Cage’s 100th birthday in 2012. Includes all published editions of 4’33” - both the typed and calligraphic TACET versions, as well as the proportional notation created for Irwin Kremen, to whom Cage had dedicated this ‘silent piece’. Deciphered and transcribed by eminent pianist Margaret Leng Tan from the 1944 painting--held since then by a private collector--created by Cage for the Duchamp/Ernst exhibition, 'The Imagery of Chess.'

• Haiku.......................................................................................EP 68395 • In a Landscape....................................................................EP 73152

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• Opening Dance for Sue Laub.............................................EP 68139 • Sonatas & Interludes............................................................EP 6755

Prepared Piano

The Sonatas and Interludes are Cage’s masterwork for Prepared Piano. In the Composition Cage expresses his interpretation of the permanent emotions of Indian tradion: The Heroic, the Erotic, the Wondrous, the Comic, Sorrow, Fear, Anger, the Odious (the four dark moods) and their common tendency toward tranquility.It was Cage first composition using Hindu philosophy and he composed the Sonatas and Interludes in a period of reading the works of the Indian art historian and critic Ananda K. Coomaraswamy.

• Water Music ..............................................................EP 6770 [for a pianist using also radio, whistles, water containers, and a deck of cards]

• a permissive conflation of readings from several sources – in effect producing a version of the music that never really existed – should be avoided

Accordingly, the editors’ procedure is to identify a single principal source for each work and to prepare an edition of that source (which they regard as ‘best’, even if it cannot be definitive).

At the same time, important variants from other authorized sources are reproduced either adjacent to or, in certain instances, within the main music text, in footnotes or in the

Critical Commentary, thus enabling scholarly comparison and facilitating choice in performance.

Multiple versions of whole works are presented when differences between the sources are so abundant or fundamental that they go beyond the category of ‘variant’.

Editor-in-Chief: John Rink

Series Editors: John Rink, Jean-Jacques Eigeldinger, Jim Samson and Christophe Grabowski

Chopin was a perpetual reviser, sometimes almost obsessively so. He was quite capable of sending radically differing versions of the same piece to his various publishers.

The unique attribute of this new edition is that it follows scrupulously a ‘single best source’ for each piece, so that the piece is presented exactly as Chopin would have known it at a particular juncture.

Only Chopin’s own fingering, as authenticated by the sources, is indicated. Sometimes unorthodox, these fingerings afford us a compelling insight into Chopin’s own expressive intentions and performance style.

• Ballades (Samson)...................................................EP 7531

Opp. 23, 38, 47, 52

Both stylistic and paper evidence suggests that the first Ballade began life in 1835, and not 1830–1 as often reported. When Chopin published the work in 1836, it represented a new title for piano music. In general, he abandoned the genres of popular concert music (variations, rondos, ‘brilliant’ polonaises, concertos), just as he abandoned the concert platform, during the early 1830s. Instead he established his own genres, giving new clarity to some existing titles (nocturne, etude, mazurka), redefi ning others (scherzo, impromptu, polonaise), and—in the case of the ballade— appropriating a title from vocal music and literature.

Before Chopin employed it, the musical connotations of the term ‘ballade’ were exclusively vocal, and it is no doubt significant that early advertisements for Op.23 included the description ohne Worte (without words).

Perhaps the most signifi cant of the cyclic links between the ballades concerns their tonal organization. All four conspicuously rethink the tonal practice of the classical sonata, avoiding the double reprise— tonal and thematic—of the classical sonata-allegro, and the conventional tonal schemata of the classical exposition. Their preference is for third-related regions, and for a studied postponement of the more conventional dominant; thus, the overall progression is towards a structural dominant that follows rather than precedes the restatement of the main themes.

It is apparent, then, that the foreground parallels between the ballades are strengthened by a more fundamental background parallel.

Each ballade transforms the sonata-form archetype in such a way that the resolution of tonal tension is delayed until the last possible moment, usually after the thematic reprise. And each finds its way to that resolution by a strikingly similar harmonic route. The bravura closing sections function then as a catharsis, releasing in a torrent of virtuosity all the tension that has been steadily mounting throughout the piece.

Extracts from the Edition Preface by Jim Samson • 3 Nouvelles Etudes

(Howat)................................EP 73229 Edition Peters is now delighted to present Roy Howat’s new edition for The Complete Chopin of Chopin’s Trois Nouvelles Études. Originally published in 1840 in the multi-composer Méthode des Méthodes, the Trois Nouvelles Études are Chopin’s least overtly virtuoso studies, but arguably they are the most quietly sophisticated of all in terms of how they train the pianist’s sensitivity to sound, rhythm and texture. Debussy once said he had ‘worn his fingers down’ playing the second of them.

After 180 years it seems extraordinary that new details can still be found in the pieces, but Howat’s edition prints some for the first time, notably a number of melodic variants in the first Etude, plus notes in the second Etude that all previous editions ‘bowdlerized’. Acting literally as a pivot in the second Etude’s structure, these authentic notes – sensitively restored here – alter our perception of the music’s texture and voicing just as the piece takes wing on one of Chopin’s most breathtaking strings of modulation.

The edition also confirms some authentic fingering still unfamiliar to most pianists, including whimsical thumb ‘hops’ down the black keys at the end of the third Etude. In keeping with the editorial procedure of this series, the edition is based on a principal source, the manuscript Chopin carefully prepared for his friend Ignaz Moscheles; in addition, some changes that Chopin introduced after publication feature here as variants, allowing pianists to choose options in performance in full awareness of where they come from.

• This authoritative critical edition based on Chopin’s autograph restores Chopin’s original text and corrects important pitches wrongly presented in previous editions • Includes only Chopin’s authentic fingerings • Variants clearly presented as ossias within the main text of each Etude • Preface by Roy Howat in English, French and German • Thorough critical commentary

• Etudes Op. 10 (Howat)..........................................EP 73227 in preparation

• Impromptus (Grabowski/Irving).............................EP 71906

Chopin’s four impromptus originated in 1834–35 (Op. posth. 66), 1837 (Op. 29), 1840 (Op. 36) and 1843 (Op. 51). Their sources are quite numerous, comprising, as was usual for Chopin, not only parallel French, German and English editions (sometimes in more than one impression) but also autograph manuscripts, copies and annotated scores belonging to former pupils which reveal refinements to chord spacing and articulation that arose in the course of Chopin’s teaching (see the Critical Commentary to this volume for a more detailed description of the sources).

The most popular of these works, the C-sharp minor Impromptu, was never published during Chopin’s lifetime; in fact, the firrst edition dates from some twenty years after the work was composed.

Chopin’s impromptus come as close as any of his compositions to a unity of the mental and the physical: within their local gestures and outward form they appear to capture and to coalesce the spontaneous physical action of the composer’s fi ngers straying across the keyboard in tandem with the flow of his thoughts. Their material is a trace, in other words, of what was once a mental impulse emerging as a gesture, a contour, a texture, a particular spacing of a chord, an embellishment, a striking contrast (of local idea, or tonality), a reprise – every one of which had its birth in the moment of performance. In the impromptus, we recapture Chopin the performer-composer, possessed by the spirit of inspiration.

Extracts from the Edition Preface by John Irving

• Nocturne Op. 9 No. 2

(Rink)...................................................................in prep. EP 73577a

Chopin's early Nocturne in E-flat major is one of his most popular works. First published in 1832, it has a charming, vocally-inspired melody in the treble with a serenade-like accompaniment in the left hand.

This volume presents two versions of the Nocturne: one based on the most definitive impression of the French first edition released during Chopin’s lifetime, the second a pioneering compilation of all the variants to have flowed from Chopin’s pen after the work was first completed.

This second text allows pianists to create their own versions of the Nocturne by combining variants as they wish, thereby drawing inspiration directly from Chopin's boundless imagination.

This ground-breaking format, presents both an Urtext reading and a version with all variants attributable to Chopin, and allows pianists to create their own version.

• Preludes (Eigeldinger).............................................EP 7532

Opp. 28 & 45

The twenty-four Preludes can also be seen as a kind of catalogue of the characteristics each key held for Chopin. The B-flat minor and E-flat minor respectively of Nos. 16 and 14 evoke the tonal world of the contemporary Sonata Op. 35. The ecstatic F-sharp major in No. 13 is certainly that of the later Barcarolle, while the discursive left-hand fi guration in No. 3, set in a translucent G major, is anticipated in the Andante spianato Op. 22. The D-flat major / C-sharp minor relationship of No. 15 informs a number of works, such as the two Nocturnes Op. 27, the Polonaise Op. 26 No. 1 and the posthumous Impromptu Op. 66. The pivotal modulations of Nos. 9 and 17 – preludes which occupy symmetrical positions in Op. 28 – revolve around the polar axes of E major/A-flat major, as in the Polonaise Op. 53, the Etude Op. 10 No. 10, the Polonaise-Fantasy Op. 61, the Waltz Op. 64 No. 3 and so on. Thus the Preludes constitute a kind of concentric mirror refl ecting the quintessential image of Chopin’s works.

At his public concerts in Paris (1841, 1842, 1848) and Britain (1848), Chopin usually played a selection of his Preludes, but he never played them as a set. That may not have been true of his private recitals, however. In October 1839, Moscheles noted in his diary that ‘Chopin played me his Etudes and his most recent work, the Preludes’. Nevertheless, the ‘complete performance’ of such collections as the Preludes was alien both to the spirit of the time and to that of Chopin in particular.

Extracts from the Edition Preface by Jean-Jacques Eigeldinger • Waltzes, complete (Grabowski).............................EP 7575

There is evidence to suggest that waltzes featured among Chopin’s very fi rst and last compositions alike. He inscribed his earliest waltzes in the album of Countess Izabella Grabowska some time before 1825. That album no longer survives, however, nor do seven waltzes composed between 1826 and 1830 which are known only from the incipits prepared by Chopin’s sister Ludwika Je ˛drzejewicz shortly after the composer’s death in 1849. As for his final waltz, which Chopin presented to Katherine Erskine in October 1848, only a reproduction of its title page still exists.

According to various eyewitness accounts, Chopin improvised mazurkas and other dances – including waltzes – at private soirées in Warsaw and Paris. He performed some of his finished waltzes at his last concert in Paris in 1848 and also during his public appearances in England and Scotland later that year.

As for the performance of works reproduced here in multiple versions and also those for which a single composite version has been proposed, the performer is strongly encouraged to adhere to a single source as far as possible. The variants unique to each one form an integrated whole whose internal logic may reveal itself only after prolonged contact. Combining elements from the different versions is to be recommended only to experienced performers with a sophisticated and ramified understanding of Chopin’s creative process.

Extracts from the Edition Preface by Christophe Grabowski

• Concerto No. 1 in E minor Op. 11......................................EP 2895aa

Arranged for piano, simplified and abridged (Fisher) • Etudes (Scholtz/Pozniak).........................................................EP 1907

Op. 10 Nos. 1–12; Op. 25 Nos. 1–12; 3 Nouvelles Etudes • Fantaisie-Impromptu in C sharp minor

(Badura-Skoda/Imai) Op. posth. 66 ........................................................................EP 9901a

Includes practical fold-out pages, allowing for convenient page-turns.

• Mazurkas (Scholtz)...................................................................EP 1902 • Nocturnes (Scholtz/Pozniak)....................................................EP 1904 • Polonaises (Scholtz/Pozniak)..................................................EP 1903

Opp. 26 Nos. 1, 2; 40 Nos. 1, 2; 44; 53; 61; 71 Nos.1–3

• Prélude in E minor Op. 28 No. 4...........................................EP 73153

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• Preludes & Rondos.................................................................EP 1908 (Scholtz/Pozniak) • Scherzos; Fantasy in F minor...............................................EP 1906

Opp. 20, 31, 39, 49, 54 (Scholtz/Pozniak) • Sonatas (Scholtz/Pozniak).......................................................EP 1909 C min Op.4; B- min Op. 35; B min Op. 58

Studies: see Etudes

• Album of Easy Original Pieces............................................EP 7569 (Rowley)

Prélude A major Op. 28/ 7;Prélude C min Op. 28/ 20; Mazurka F min Op. 63/ 2; Cantabile B major Op.ph.; Prélude E min Op. 28/ 4; Waltz Ab major Op. 69/ 1; Prélude B min Op. 28/ 6; Albumblatt E major Op.ph.; Mazurka A min Op. 67/ 4; Waltz (Piano Piece) Eb major Op. ph.; Prélude Db major Op. 28/ 15; Nocturne G minOp. 37/ 1; Mazurka B major Op. 7/ 1; Waltz B min Op. 69/ 2

Chou, Wen-chung (1923–2019)

• The Willows are New

(After Wang Wei’s Yang Kuan).................................................EP 6169

Clementi, Muzio (1752–1832)

• Sonatinas (Ruthardt)..................................................................EP 145 Opp. 36 Nos. 1–6; 37 Nos. 1–3; 38 Nos. 1–3 • Sonatinas Op. 36 (Ruthardt)....................................................EP 3346 Couperin, François (1668–1733)

• Les Baricades Mistérieuses

(Les Barricades Mystérieuses)........................................EP 11636 (Catherine Massip)

What is hidden behind the seductively hypnotic repeating theme of Couperin’s Les Baricades Mistérieuses? The original allusion of the title is long forgotten, though tantalizing theories abound, but the piece has lost none of its evocative beauty.

This new Urtext Edition from Edition Peters by eminent Couperin scholar Catherine Massip provides young pianists of advancing abilities, enthusiasts and professional pianists with a beautifully engraved and reliable scholarly text. In addition to the notation itself, this edition contains a preface in French, German and English and a critical commentary.

Crumb, George (1929–2022)

• Eine kleine Mitternachtmusik

(A Little Midnight Music).....................................................EP 68044

Ruminations on Round Midnight by Thelonious Monk for Amplified Piano • A Little Suite for Christmas, A.D.1979.................................EP 66833 • Makrokosmos

Twelve Fantasy-Pieces after the Zodiac for Amplified Piano

Vol. I...................................................................................EP 66539a

Vol. II..................................................................................EP 66539b • Metamorphoses

Book 1 ......................................................................EP 68581

Cziffra, Georges (1921–1994)

• Transcriptions (Grandes Études de Concert)

Among the lives of legendary 20th-century pianists, that of

Georges Cziffra (1921-1994) was certainly one of the most draatic: from performing prodigy in a circus in his native

Hungary at the age of five, to serving on the Russian Front during the Second World War, to his time in a Soviet prison camp.

Through all of this trauma, Cziffra's extrordinary pianistic and musical talent survived intact, and he emerged in the late 1950s as one of the greatest pianists. Owing to injuries sustained during his time in captivity, Cziffra performed with a leather wrist band to support the damaged ligaments in his hand. Vol. 1...............................................................................................CF 1

Brahms (Hungarian Dances), Rimsky-Korsakov,

Johann Strauss etc.

Vol. 2.............................................................................................CF 2a

Liszt, Rossini, Johann Strauss, Falla, Khatchaturian and original works by Cziffra

Debussy, Claude (1862–1918)

Piano Works (Hans Swarsenski)

This is a well-established series in which the editor, Hans Swarsenski, corrects obvious errors in previous editions and draws our attention to other instances of potential ambiguity. • 2 Arabesques .........................................................EP 7259 • Clair de lune ...........................................................EP 7251 (from Suite bergamasque) • Études, Books 1 and 2 ..........................................EP 71796

In the original preface to his Etudes, Debussy states his general belief that fingering suggestions in a printed edition are not helpful,and goes on to exclaim, “Cherchons nos doigtés!” (“Let us find our own fingering!”). In accordance with his wishes, our edition does not add fingerings or indeed any thing else extraneous to the composer’s original musical texts.

• Pour le piano ..........................................................EP 7274

Prélude, Sarabande, Toccata • Préludes

Book 1 ..................................................................EP 7255a Danseuses de Delphes; Voiles; Le vent dans la plaine; ‘Les sons et les parfums tournent dans l’air du soir’; Les collines d’Anacapri; Des pas sur la neige; Ce qu’a vu le vent d’ouest; La fille aux cheveux de lin; La sérénade interrompue; La cathédrale engloutie; La danse de Puck; Minstrels

Book 2 .................................................................EP 7255b Brouillards; Feuilles mortes; La puerta del vino; ‘Les fées sont d’exquises danseuses’; Bruyères; Général Lavine – eccentric; La terrasse des audiences du clair de lune; Ondine; Hommage à S. Pickwick Esq. P.P.M.P.C.; Canope; Les tierces alternées; Feux d’artifice • Suite bergamasque .............................................EP 7261

Prélude, Menuet, Clair de lune, Passepied

• Arabesque No. 1....................................................................EP 73154

Series: more than the score... more than the score… is a series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert,

Mendelssohn, Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and background information encouraging an exploration of the music – beyond the printed score.

Diabelli, Anton (1781–1858)

• Sonatinas (Ruthardt).................................................................EP 2439

Op.151 Nos.1–4; Op.168 Nos.1–7

Elgar, Edward (1857–1934)

• Salut d’amour Op. 12 .............................................EP 7369 (Burrows)

Fauré, Gabriel (1845–1924)

In these days of multiple fine editions of most musical masterpieces, it is rare indeed for a new edition to make a substantial difference to how a major composer’s music might actually sound. However, this has hap pened in the case of Fauré.

In common with many composers, Fauré’s relationships with his original publishers were often less than satisfactory. Given the general precision of his written intentions, this can to some extent be ascribed to his publish ers’ shortcomings. However, in certain aspects, Fauré set considerable challenges for his editors, notably regarding tempo and metronome indica tions – a fact he came to acknowledge. The longevity of copyright protection militated against the proper evaluation of such textual ambiguities, some of them crucial to the essence of a per formance, until many years after the composer’s death. Since the mid-1990’s, however, Fauré aficionados have had significant cause to be grateful to the renowned French music specialist, Roy Howat, for his painstaking and pioneering work in equipping us with the range of informa tion required for cohesive and convincing interpretations.

Each edition features a preface in French. All original pieces are presented in fully critical Urtext editions, with no unspecified editorial accretions. This even extends to fingering; any such indications are by the composer him self. Although Fauré was by no means a purist regarding arrangements of his music, the arrangements and transcriptions in some some of these volumes are also presented with due fidelity to all extant sources.

• Barcarolles (Howat).................................................EP 71904

This Urtext edition of Fauré’s Barcarolles, like that of the Nocturnes, draws on a very wide range of sources including piano rolls played by him and printed copies bearing his corrections. Along with other rare sources, these offer some variant textures in the First Barcarolle and throw important light on tempo and rhythmic treatment in (particularly) the first two Barcarolles. The Fifth Barcarolle shows a vital manuscript variant and some variant rhythmic notation, both of which impinge strongly on the piece’s tonal and rhythmic structure; in the Eighth Barcarolle a whole series of faulty or missing accidentals is corrected.

A longstanding confusion of slurs and ties is resolved in the Tenth Barcarolle, along with a problem of continuity at one point. Some oft-debated textures in the Eleventh and Twelfth Barcarolles are clarified, along with the correction of an unusually large number of wrong notes in the Eleventh.

The remaining pieces appear with many smaller but telling corrections, in all bringing a new clarity to this epoch-defining series of pieces spanning four decades. • 13 Nocturnes (Howat................................................EP 7659

Just as this remarkable series of works spanned virtually the whole of

Fauré’s compositional career, so they can give us a lifetime of enrichment. One can only marvel at the source of inspiration which brought into being such profound utterances as the 6th or 10th

Nocturnes, to name but two examples. The ‘Nocturnes’ had a particularly unfortunate publishing history. As a result, Howat identifies literally hundreds of corrections, amendments and alternatives deriving directly from Fauré’s own pen. Characteristically, Howat is also always alert to the restless, fecund spirit of Fauré’s creativity; as such, he tends to regard slight discrepancies in repeat or parallel passages as perfectly deliberate, rather than composer ‘errors’ to be standardized.

Among the multiplicity of sources consulted are piano-roll recordings of three of the Nocturnes by the composer himself.

“A new edition of Fauré’s Thirteen Nocturnes has long been needed, to clean up literally hundreds of old misprints and dubieties. Indeed, towards the end of his life Fauré prepared a corrected edition of his first eight Nocturnes, but this went so badly wrong that he tried, just before he died, to block its publication. Undeterred, the publisher concerned (Hamelle) issued it in that state in 1924, and that’s what’s been available since - cluttered since the 1950s by editorial fingering

This new edition has compared all known manuscripts and prints from

Fauré’s lifetime, along with some piano rolls recorded by Fauré and memoirs and scores marked up by pianists who worked with him.

A few of Fauré’s own printed copies survive, showing numerous written corrections by him that never made it into the 1924 re-edition and which are now printed for the first time.The preface includes some performing advice that can be traced back to Fauré; it bears out his wish to have his music played in time and up to his dynamics, without sentimental rallentandi or soggy rubato.” Roy Howat • Pavane Op. 50 (Howat).............................................................EP 7383

Fauré made a piano transcription of the ‘Pavane’, but subsequently he revised his original orchestral score. Howat’s new transcription is true to the spirit of Fauré’s arrangement. The preface quotes from Sir Adrian Boult’s recollection that Fauré preferred (and played the piece at) a tempo considerably faster than the rather doleful interpretations one often hears. In 1975, in letters to Robert Orledge, Sir Adrian Boult recalled meeting Fauré and hearing him play at the London home of Leo Frank Schuster in 1906 and 1908.

Sir Adrian concludes:

“May I ask you to do all you can to prevent the prevalent performances of the Pavane as if it were a piece of German Romanticism, written by someone like Schumann with a full measure of sentiment. The words are obviously a leg-pull, and the scene is a number of young people dancing and chaffing each other…” Extract from the Preface by editor Roy Howat • Pièces brèves Op. 84 ..............................................EP 7601 (Howat) • 3 Romances

sans paroles Op. 17 (Howat)..............................EP 7711 • Thème et Variations Op. 73 (Howat).....................EP 7956

• Dolly Op. 56 (Howat).................................................................EP 7384

Roy Howat’s arrangement of ‘Dolly’, based on his Urtext revision of the original duet version, sits firmly within the French tradition of transcription, with its focus on elegance and clarity of texture. When appropriate, less essential notes are indicated by smaller noteheads • Piano Works (Klemm)

Vol. 1:....................................................................................EP 9560a 9 Préludes Op. 103; 6 Impromptus Opp. 25, 31, 34, 91, 102, 86 bis

Feldman, Morton (1926–1987)

• Solo Piano Works 1950–64................................................EP 67976

Edited by Volker Straebel Extensions 3; Two Intermissions; Intermissions 3, 4, 5 & 6; Intersections 2, 3 & 6; Last Pieces; Nature Pieces for Piano; Piano Pieces: 1952, 1955, 1956a, 1956b, 1964; Piano Piece (To Philip Guston); Three Pieces for Piano; Variations; Vertical Thoughts 4

Field, John (1782–1837)

• Nocturnes. Complete (Köhler).................................................EP 491

The Irish composer/pianist John Field is best known as the inventor of the Nocturne, and was a big influence on Romantic composers including, most significantly, Chopin.

• Nocturne No. 5 in B flat........................................................EP 73155

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score. Franck, César (1822–1890)

• Prélude, Aria & Finale Op. 23 (Sauer)..................................EP 3740b • Prélude, Choral & Fugue Op. 21..........................................EP 3740a

Gjeilo, Ola (*1978)

Ola Gjeilo (pronounced Yay-lo) was born in Norway in 1978, and moved to the United States in 2001 to begin his composition studies at the Juilliard School in New York City. He especially enjoys writing music for choir, orchestra/symphonic winds, and the piano, while as a pianist, his main passion is improvisation, either solo or over his own ensemble works.

Presently a full-time composer based in the US, Ola is also very interested in film, and his music draws a lot of inspiration from movies and cinematic music.

• Chorale.....................................................................................EP 72561 • Stone Rose: Five pieces for piano.......................................EP 72451

January; Sidewalks; Snow in New York; The Hudson; April

• Piano Works in 4 Volumes

Vol. 1: Complete Lyric Pieces ...........................EP 3100aa Opp. 12, 38, 43, 47, 54, 57, 62, 65, 68, 71 (Edvard Grieg Committee, Oslo) Vol. 2:

Miscellaneous Piano Works..............................................EP 3100b 4 Pieces Op. 1; Poetic Tone Pictures Op. 3; 4 Humoresques Op. 6; Concerto in A min Op. 16; Pictures from Life in the Country Op. 19; Ballade in G min Op. 24; 5 Album Leaves Op. 28; Improvisations on Norwegian Folk Tunes Op. 29; Folksongs Op. 41; 6 Piano Pieces Op. 52; Stimmungen Op. 73; 3 Posthumous Pieces

Vol. 3: Miscellaneous Piano Works....................................EP 3100c

Norwegian Folk Tunes & Dances Op. 17; Elegiac Melodies Op. 34 (arr.); Norwegian Dances Op. 35; 2 Waltz-caprices Op. 37; Holberg Suite Op. 40; Peer Gynt Suite No. 1 Op.46 & No. 2 Op. 55; Scenes from Olav Trygvason Op. 50; 2 Melodies Op. 53 (arr.); 3 Orchestral Pieces from Sigurd Jorsalfar Op. 56; 2 Nordic Tunes Op. 63; 19 Norwegian Folk Tunes Op. 66; Funeral March

Vol. 4: Supplement ..............................................EP 3100dd

Sonata in E min; Slåtter Op. 72 – Norwegian Peasant Dances; Dance of the Mountain King’s Daughter Op. 55 No. 5; Larvikspolka EG 101; 23 Little Piano Pieces EG 104; Canon à 4 voci EG179; Seven Fugues for Piano EG184a–g; 3 Piano Pieces EG 105; Agitato EG 106; Six Norwegian Mountain Melodies; Album Leaf EG 109;

At Halfdan Kjerulf’s Memorial Column EG 167 • Arietta Op. 12 No. 1...............................................................EP 73156 (from Lyric Pieces, Book 1)

Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• Concerto in A minor Op. 16..................................................EP 2164b Arranged for piano, simplified and abridged (Weismann) • Holberg Suite Op. 40...............................................................EP 2151 Complete Lyric Pieces ........................................EP 3100aa

Opp. 12, 38, 43, 47,54, 57, 62, 65, 68, 71 (Edvard Grieg Committee, Oslo)

Book 1 Op. 12..........................................................................EP 1269 Watchman’s Song; Elves’ Dance; Folk Tune; Norwegian Melody; Albumleaf; National Song; Arietta; Waltz

Book 2 Op. 38..........................................................................EP 2150 Berceuse; Folk Melody; Melody; Halling; Spring Dance; Elegy; Waltz; Canon

Book 3 Op. 43..........................................................................EP 2154 Butterfly; Solitary Traveller; In my Native Country; Little Bird; Erotikon; To the Spring

• Peer Gynt Suite No. 1 Op. 46 ................................EP 11078 (arr. by the composer) (Edvard Grieg Committee, Oslo) Morgenstimmung; Åses Tod; Anitras Tanz;

In der Halle des Bergkönigs

• Peer Gynt Suite No. 2 Op. 55.................................................EP 2653 (arr. by the composer) • Slåtter Op. 72.............................................................................EP 3097 17 Norwegian Peasant Dances • Solveig’s Song Op. 55 No. 4

& Solveig’s Cradle Song.......................................................EP 3515 • Wedding Day at Troldhaugen

Op. 65 No .6..............................................................................EP 2922 (from Lyric Pieces, Book 8)

Hamelin, Marc-André (*1961)

• Cadenzas for the Beethoven Piano Concerti....................EP 68751

This edition collects virtuoso Marc-André Hamelin’s own cadenzas for the first four piano concerti of Beethoven. Each is dedicated to a different pianist: The cadenza for the First Concerto is inscribed to Bertrand Chamayou, the cadenza for the Second is dedicated to keyboardist and conductor Yannick Nézet-Séguin, and the cadenza for the Third Concerto is dedicated to Igor Levit, while Hamelin has dedicated his cadenzas for both the first and third movements of the Fourth Concerto to his wife, the pianist and presenter Cathy Fuller.

and G major..........................................................................EP 68752

Widely admired for his performances of the core piano repertoire as well as his forays into obscure and hyper-virtuosic corners of the piano repertoire, composer–performer Marc-André Hamelin has received special praise for his sensitive and penetrating interpretations of the music of Franz Joseph Haydn.

This volume collects both of Hamelin’s original cadenzas for the Haydn Piano Concerto in F major, Hob. XVIII:3 in addition to his three cadenzas for the Concerto in G major, Hob. XVIII:4, all of which put Hamelin’s own spectacular stamp onto the music of the Classical master.

• 12 Etudes in all the minor keys...........................................EP 68235 • On the Short Side..................................................................EP 68589 • Toccata on “L’homme armé”................................................EP 68577 • Variations on a Theme of Paganini....................................EP 68430

• Arrival of the Queen of Sheba...............................................EP 7730

Arranged for piano (Müller-Hartmann) • Water Music: Suite...................................................................EP 7345

Arranged for piano (Campbell)

Harrison, Lou (1917–2003)

• A Waltz for Evelyn Hinrichsen............................................EP 66735k

Haydn, Joseph (1732–1809)

• Sonatas (Martienssen)

Vol. 1:......................................................................................EP 713a Hob. XVI:1, 19, 34, 35, 36, 37, 40, 46, 49, 52 Vol. 2:.....................................................................................EP 713b

Hob. XVI:2, 5, 13, 14, 18, 21, 23, 27, 28, 29, 33, 39 Vol. 3:......................................................................................EP 713c

Hob. XVI:12, 20, 24, 25, 26, 31, 41, 42, 45, 48 Vol. 4:......................................................................................EP 713d

Hob. XVI:6, 10, 22, 30, 32, 38, 43, 47, 50, 51

Hersch, Fred (*1955)

• Valentine................................................................................EP 68328

Hovhaness, Alan (1911–2000)

• Macedonian Mountain Dance..............................................EP 6199

Op. 144

Händel, Georg Friedrich (1685–1759)

• Keyboard Works (Serauky)

Vol. 1:

Suites (First Set) HWV 426-433.............................................EP 4981

Vol. 2:

Suites (Second Set) HWV 434-442........................................EP 4982

Vol. 3:

Suites and Other Keyboard Pieces........................................EP 4983

Vol. 4:

Fugues & Fughettas...............................................................EP 4984 (Glasenapp)

Vol. 5: Early Keyboard works....................................................EP 4985 Sonatina in D min; Partita; Suite; Sarabande; Menuett; Giga; 2 Fantasias; Sonata in A; Carillon • Air with Variations from Suite No. 5.........................................EP 71794 (The Harmonious Blacksmith) (Serauky) Janáček, Leoš (1854–1928)

• Piano Works (Barvík/Zimmermann).........................EP 9867 Tema con variazioni – ‘Zdenka Variations’; On the Overgrown Path, 1st series; Sonata 1.x.1905; In the Mists; 2 pieces from On the Overgrown Path, 2nd series; In Remembrance; Memory

Joplin, Scott (1868–1917)

• The Entertainer, slightly simplified.........................................EP 8687 • Ragtimes (Klemm)

Vol. 1: 20 pieces from 1899–1906.........................................EP 9678a Vol. 2: 16 pieces from 1907–1917.........................................EP 9678b

Kawashima, Motoharu (*1972)

• Hama-Con-Plex .........................................................EP 73582

Commissioned as a test piece for the 11th Hamamatsu International Piano Competition, Motoharu Kawashima’s Hama-Con-Plex is a brilliant tour-de-force as well as a tour du repertoire.

It is based on fragments from the ten most performed piano concertos from previous finals of the Hamamatsu Competition including concertos by Tchaikovsky, Liszt, Mozart, Prokofiev and Rachmaninov.

Each fragment is limited to material in which the two hands form a single idiom, and therefore not necessarily the most famous parts of each piece, as they do not contain any structure of melody and accompaniment or any contrapuntal content.

Performance score.

Khatchaturian, Aram (1903–1978)

• Sonatina in C ◄ .......................................................................EP 4758

• Toccata ◄ ..................................................................................EP 4734

Kuhlau, Friedrich (1786–1832)

• Sonatinas (Köhler/Ruthardt)

Vol. 1: Opp. 20, 55, 59...........................................................EP 715a

Vol. 2: Opp. 60, 88.................................................................EP 715b Liszt, Franz (1811–1886)

New Critical Edition by Leslie Howard

• Années de pèlerinage:

Première Année (Suisse),

Trois Morceaux suisses..................................................EP 72782 The three volumes of Années de pèlerinage (‘Pilgrim Years’) are among Liszt‘s most important compositions for piano solo. From dramatic-virtuoso to pensive-romantic music, the 29 ‘travel pieces’ represent the complete range of Liszt's compositional expression.

For the first time, this first volume of the trilogy, Suisse (Switzerland) is published together with the Trois Morceaux suisses, in line with the composer’s original intention to combine all his Swiss-inspired character pieces into a single volume. The musical journey is supported by the inclusion of historical illustrations of the scenes and l andscapes that inspired the composer.

Edited by world-renowned Liszt expert and concert pianist Leslie Howard, the edition also contains Liszt’s original fingerings.

Deuxième Année (Italie &

Venezia e Napoli)...........................................................EP 72783

While the first volume of Liszt’s Années de pèlerinage (‘Pilgrim Years’) was inspired primarily by the landscape of Switzerland, the creative impetus for the second volume was the art and literature of Italy.

Containing an extensive critical commentary and introductory notes, the edition (like its predecessor Première année – Suisse, (EP72782)) also contains reproductions of the half-tint illustrations by

Robert Kretschmer that appeared in the first edition.

Also included in this prestige volume, a must-have for any serious Liszt pianist, is the supplementary volume Venezia e Napoli, beautiful and ingenious revisions of earlier works based on Italian street music.

Troisième Année – Italie (S163);

Trois Odes funèbres (S516, S516a, S517) ...................EP 72784 The genesis of the Troisième Année de pèlerinage is very different from that of its two predecessors. The first (Suisse) and the second (Italie) were brought into their published shape in the mid-1850s during Liszt’s time in Weimar, although most of the pieces actually originated during the period of his young wanderings in the company of Marie d’Agoult in the 1830s. They are both volumes of intensely passionate, essentially young man’s music, whatever refinements later accrued to them. The third volume (in later editions also published with the subtitle of ‘Italie’) is the product of a fundamentally solitary person, no matter how famous and once-fêted, written during the latter years of Liszt’s life, when he made an almost annual triangular trip through Rome, Weimar and Budapest. Five of the pieces date from 1877, but Liszt added two earlier works: Sunt lacrymae rerum, originally written in 1872, and Marche funèbre, composed at some time after June 1867 but revised for this set. All seven pieces were revised, some of them more than once, and the final versions were ready in 1882 and published in 1883. The process of revision allowed Liszt to make several tiny musical elements shared between the pieces to be more forcefully delineated. That said, the cyclical quality of the book is more a question of spirit than of letter.

New Urtext Edition by Leslie Howard

For the first time, the first volume of the trilogy, Suisse (Switzerland) is published together with the Trois Morceaux suisses, in line with the composer’s original intention to combine all his Swiss-inspired character pieces into a single volume. The musical journey is supported by the inclusion of the historical illustrations of the scenes and landscapes that inspired the composer.

and Liebesträume ................................................EP 7820

• Trois Études de concert ......................................EP 72780

The Trois Études de Concert date from the beginning of Liszt’s time as Kapellmeister in Weimar and appeared in 1849 in three separate volumes. Meanwhile, the original manuscript - whereabouts unknown until recently - can now be seen at the Bibliothèque Musical François-Lang in Royau mont (north of Paris). The autograph reveals many details that were missed or not corrected. Therefore in the present new Urtext edition, the original manuscript has been taken to be the superior authoritative source; secondary sources are the German and the French first editions from 1849.

The edition also contains Liszt’s short cadenzas to the Etude No. 3 and his alternative version of the Coda, which might also be interesting for the performance practice of our time

• Mephisto Waltz No. 1/

The Procession by Night ...................................................EP 7987

• Sonata in B minor .................................................EP 71900

One of the great strengths of the Peters edition of Liszt’s piano music is that it was edited by Emil von Sauer - perhaps Liszt’s most famous pupil. Dr Leslie Howard, one of the greatest modern-day exponents of Liszt’s piano music, has embarked upon a project to update our editions of these great works, utilising this valuable link to Liszt’s musical and pianistic intentions via his pupil.

We are delighted to offer this landmark new edition of arguably his greatest work, the ‘Grand Sonate pour le Pianoforte’ according to the manuscript, now known habitually as the ‘Sonata in B minor’. Superlatives abound when describing this monumental masterpiece, and they are fully justified. Given the radical nature of this music, the composition date of 1853 might seem surprisingly early. Its astonish ing formal ingenuity keeps analysts perpetually occupied, but from the listener’s perspective equally important is surely the immense emotional power of the work in all its multifaceted glory.

• Piano Works in 12 Volumes (Sauer)

Vol. 1: Hungarian Rhapsodies Nos. 1–8............................................................................EP 3600a Vol. 2: Hungarian Rhapsodies Nos. 9–16........................................................................EP 3600bb Vol. 3: 12 Etudes d’exécution

transcendante..................................................................EP 3600c Vol. 4: Paganini Studies; 5 Concert Studies............................................................EP 3600d Il lamento, La leggierezza, Un sospiro, Waldesrauschen, Gnomenreigen

Vol. 5: Original Piano Works.............................................EP 3601a Polonaises in C min, E; 2 Ballades; Mephisto Waltz No. 1; Valse-Impromptu; Première Valse Oubliée; Grand Galop Chromatique; Consolations; 2 Légendes

Vol. 6: Original Piano Works.............................................EP 3601b Liebesträume (3 Nocturnes); Bénédiction de Dieu; Funérailles; Cantique d’Amour; Berceuse; Selection from Années de pèlerinage;

Sonata in B min Vol. 7: Fantasias on Wagner’s Operas.............................EP 3601c (13 extracts) Rienzi: Santo spirito cavaliere; Tannhäuser: O du mein holder Abendstern; Einzug der Gäste auf Wartburg; Lohengrin: Elsas Brautzug zum Münster; Festspiel und Brautlied; Elsas Traum; Lohengrins Verweis an Elsa; Der fliegende Halländer: Ballade; Spinnerlied; Tristan und Isolde: Isoldens Liebestod; Die Meistersinger von Nürnberg: Am stillen Herd; Der Ring des Nibelungen: Walhall; Parsifal: Feierlicher Marsch

Vol. 8: Fantasias on Operas.................................................EP 3601d by Mozart, Gounod, Verdi, Bellini, Auber, Mendelssohn,

Donizetti & Rossini Mozart. Don Juan-Phantasie; Gounod. Faust-Walzer; Verdi. Rigoletto: Konzert-Paraphrase; Trovatore:Miserere Bellini. Norma-Phantasie; Auber. Stumme von Portici: Tarantelle; Mendelssohn. Sommernachtstraum: Hochzeitsmarsch; Donizetti. Lucia di Lammermoor-Phantasie; Rossini. Stabat mater: Cuius animam

Vol. 9: Transcriptions of Songs..........................................EP 3602a by Schubert, Schumann, Beethoven, Chopin,

Lassen, Liszt & Mendelssohn Vol. 10: Miscellaneous

Transcriptions...................................................................EP 3602b Schubert – Soirées de Vienna; Bach – 6 Preludes & Fugues, Fantasia & Fugue in G min, Variations on ‘Weinen Klagen’; Rossini – Soirées Musicales Nos.2 & 9

Vol. 11: Concertos; Transcriptions

Concertos in E-, A;..............................................................EP 3602c Totentanz; Hungarian Fantasia; Schubert - Wanderer Fantasia; Weber – Polonaise Brilliante Op.72

Vol.12: Supplementary Volume..........................................EP 3602d Gretchen (from Faust Symphony); Scherzo & March; Fantasia & Fugue on B–A–C–H; 3 Schubert Marches; Wagner – Tannhäuser Overture; Meyerbeer – Skaters’ Waltz

Litolff, Henry (1818–1891)

• Scherzo from Concerto Symphonique

No. 4 Op. 102...........................................................................H 1462

Mahler, Gustav (1860–1911)

• Adagietto from Symphony No. 5..............................................EP 7477

Arranged for piano (Flint)

• Méditation from Thaïs...........................................................EP 7821 Arranged for piano (Nichols)

Thaïs, Massenet's tenth completed opera, had its première at the Paris

Opéra on 16 March 1894. The libretto by Louis Gallet was based on

Anatole France's novel of the same name, serialized in the Revue des deux mondes in 1889 and published in book form the following year.

The story tells of the conversion to Christianity of the courtesan Thaïs by the holy man Athanael, and his parallel but opposite conversion to a life dominated by lust for her. The "Méditation" for solo violin and orchestra, joining the two scenes of Act II, describes the beginning of Thaïs's conversion.

The work was not received well initially; by 1897, but the "Méditation" was an instant success with violinists, and its religious association also encouraged church organists to play it at Mass during the Communion. Even Pope Pius X's motu proprio of 1903, specifically demanding that the music heard in church should "not include reminiscences of those employed in the opera house", could not prevail against it.

Mendelssohn, Felix (1809–1847)

• Complete Piano Works in 5 Volumes (Kullak)

Vol.1: Songs Without Words................................................EP 1704a

Vol.2: Miscellaneous Piano Works.................................EP 1704b Capriccio Op. 5; 7 Characteristic Pieces Op. 7; Rondo Capriccioso Op. 14; 3 Fantasias Op. 16; 3 Caprices Op. 33; Andante Cantabile & Presto Agitato in B min; 6 Children’s Pieces ‘Christmas Pieces’ Op. 72

Vol.3: Miscellaneous Piano Works.....................................EP 1704c Fantasia Op. 28; 6 Preludes & Fugues Op. 35; Variations Sérieuses Op. 54; Andante & Variations Op. 82; Variations Op. 83; 3 Studies Op. 104; Scherzo in B min; Study in F min;

Scherzo à Capriccio in F+ min

Vol.4: Works for Piano & Orchestra...................................EP 1704d (Piano Solo version) Concertos in G min Op. 25, D min Op. 40; Capriccio Brillant in B min Op. 22;

Rondo Brillant in E- Op. 29;

Serenade & Allegro Giocoso Op. 43 Vol.5: Supplementary Volume...........................................EP 1704e

Sonatas in E Op. 6,

G min Op. 105, B- Op. 106; Fantasia on ‘Last Rose’ Op. 15; 3 Preludes Op. 104a; Album Leaf Op. 117; Capriccio Op. 118; Perpetuum Mobile Op. 119; Prelude & Fugue in E min; Gondellied; 2 Klavierstücke in B-, G min

• Rondo Capriccioso Op. 14 (Kullak)........................................EP 1704f • Songs Without Words............................................................EP 1704a • Songs Without Words Op. 19 No. 1......................................EP 73157

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Moszkowski, Moritz (1854–1925)

• Spanish Dances Op. 12 (Ulrich).........................................EP 2126 Arranged for Piano Solo

Mozart, Wolfgang Amadeus (1756–1791)

• Andante from Concerto

No. 21 in C Major K467........................................................EP 7704 Arranged for piano solo (Flint)

• Serenade in G major K525

“Eine kleine Nachtmusik”.....................................................EP 3957

Arranged for piano (Singer)

• Sonatas (Martienssen/Weismann)

Vol. 1.....................................................................................EP 1800a

K279, 280, 281, 282, 283, 284, 309, 310, 311, 330

Vol. 2.....................................................................................EP 1800b

K331, 332, 333, 457 (with Fantasia K475), 533 (with Rondo K494), 545, 547a, 570, 576

• Sonata A major K331(300i) ....................................EP 11506

New edition based on the recently-discovered partial autograph from Országos Széchényi Könyvtár Budapest This new Urtext edition of Mozart’s Piano Sonata in A major K331 (300i), with the famous final Rondo ‘Alla turca’, draws on a recently-discovered autograph source to create a version which has substantial differences – particularly in the six variations and the Menuetto – to earlier editions. In the preface, the editor, Klaus Burmeister, considers this new edition within the history (dating back to 1784) of printed editions of the sonata, particularly at Edition Peters. The editor also pays particularly attention to the specific use of articulation marks, as Mozart learned to use them from his father Leopold. This critically revised edition brings all the latest musicological research into the Edition Peters catalogue.

• Sonata in C K545 “Sonata facile”...........................................EP 73158

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• Symphonies.................................................................................EP 198

Arranged for piano (Gustav Horn) Nos. 35 ‘Haffner’; 36 ‘Linz’; 38 ‘Prague’; 39; 40; 41 ‘Jupiter’ • Symphony No. 40 in G minor K550.......................................EP 7398

Arranged for piano (Gustav Horn) • Complete Variations..................................................................EP 273 K24, 25, 54, 179, 180, 264, 265, 352–254, 398, 460, 500, 573, 613, K.Anh.137 (Köhler/Ruthardt) • 12 Variations K265 (300e)

on ‘Ah! Vous dirai-je, Maman’..................................................EP 8685 (‘Twinkle, twinkle little star’) • Viennese Sonatinas.................................................................EP 4615 6 Sonatas after K439b. Based on the first Viennese edition (Volger) • Album of Piano Pieces ...........................................................EP 4240 Prelude & Fugue in C K394; Suite in C K399; Fantasias in C min K396, D min K399; Rondos in D K485, A min K511; Adagio in B min K540; Minuet in D K355 (Weismann)

Mussorgsky, Modest (1839–1881)

• Pictures at an Exhibition .........................................EP 9585 (Hellmundt)

Pachelbel, Johann (1653–1706)

• Canon in D..............................................................................EP 68704

Arranged for Piano Solo (Cohen) Pachelbel’s exuberant and justly famous Canon may well have been first heard at the wedding of Johann Christoph Bach. Originally for small ensemble, Mary Cohen’s new arrangement of the work for solo piano or keyboard will suit players moving from easy towards intermediate repertoire.

Rachmaninov, Sergei (1873–1943)

• Préludes Op. 3 No. 2 & Op. 23...............................................EP 66900 • Préludes Op. 32......................................................................EP 66901 • Prelude in C+ minor Op. 3 No. 2...........................................EP 71785

Ravel, Maurice (1875–1937)

Edition by Roger Nichols

Ravel presents serious challenges to editors of his music. In the autograph of Ondine from Gaspard de la nuit, for example, the right hand pattern as initially established from bars 1 to 3 is changed in bars 4 to 7. However in Ravel’s corrected copy of the first edition the pattern set up in the first three bars is continued.

This is characteristic of the dilemmas faced by French music specialist Roger Nichols in his prepration of our Urtext edition of Ravell’s piano music. On this occasion he has reasons to favour the composer’s corrected version, but this and all other instances of ambiguity between the sources are clearly documented in the critical commentaries to each volume.

Consulting no fewer than 14 sources (including some sound recordings by Ravel himself and other pianists with whom the composer worked). Roger Nichols is uniquely qualified to evaluate their complexities, enabling us to make well-informed assessments in approaching this formidable yet infinitely rewarding repertoire.

• Gaspard de la nuit ▲ ...............................................EP 7378 • Jeux d’eau ▲ .............................................................EP 7373 • Miroirs ▲ ......................................................................EP 7374 • Pavane pour

une Infante défunte ▲ ...........................................EP 7371 • Sonatine ▲ .................................................................EP 7375 • Le tombeau de Couperin ▲ .....................................EP 7376 • Valses nobles & sentimentales ▲ ........................EP 71000

• Album of shorter pieces ▲ ......................................EP 7372 Menuet sur le nom d’Haydn; Prélude; A la manière de Borodine;

A la manière d’Emmanuel Chabrier

Saint-Saëns, Camille (1835–1921)

• Selected Piano Works (Arens)................................................EP 9295 Album pour Piano Op. 72; Allegro appassionato Op. 70; Les cloches du soir Op. 85; 6 Bagatelles Op. 3; Suite Op. 90 Satie, Erik (1866–1925) • Music for Piano

Edition by Roger Nichols

Vol.1 ........................................................................EP 7342 3 Gymnopédies; Je te veux; 3 Sarabandes; 3 Pièces froides (Airs à faire fuir)

Vol.2 .......................................................................EP 7343 3 Gnossiennes; 3 Avant-dernières pensées; Sonatine bureaucratique; 5 Nocturnes

• Piano Works (Klemm)

Vol.1......................................................................................EP 9620a 4 Ogives, 3 Sarabandes, 3 Gymnopédies, 7 Gnossiennes, Pièces Froides, 5 Nocturnes, Menuet

Vol.2......................................................................................EP 9620b

Véritables Préludes flasques (pour un chien); Descriptions automatiques; Embryons desséchés; Croquis & Agaceries d’un gros bonhomme en bois; Chapitres tournés en tous sens; Vieux sequins et vielles cuirasses; Les trois valses distinguées du précieux dégoûté; Heures séculaires & instantanées; Avant-dernières pensées;

Sonatine bureaucratique • L’Enfance de Ko-Quo .............................................EP 7538 Published for the first time (Volta) • Gnossienne No. 3.................................................................EP 73159

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

• 150 Sonatas (Selected) (Keller/Weismann)

Vol. 1: 50 Sonatas.................................................................EP 4692a

K4, 8, 9, 11, 19, 63, 67, 69, 70, 78, 87, 106, 118, 123, 129, 135, 149, 200, 206, 213, 226, 235, 245, 247, 259, 268, 270, 274, 278, 283, 284, 318, 375, 394, 397, 402, 406, 412, 420, 426, 429, 430, 434, 446, 451, 471, 499, 513, 518, 544 Vol. 2: 50 Sonatas................................................................EP 4692b

K1, 3, 15, 16, 25, 31, 33, 46, 49, 51, 52, 64, 84, 104, 110, 125, 126, 127, 133, 140, 145, 146, 159, 173, 183, 202, 203, 244, 246, 269, 319, 356, 371, 373, 380, 387, 388, 390, 405, 419, 438, 461, 470, 476, 514, 524, 525, 533, 537, 553 Vol. 3: 50 Sonatas................................................................EP 4692c

K12, 13, 18, 20, 22, 24, 26, 28, 29, 30, 44, 54, 65, 72, 96, 98, 108, 113, 114, 119, 120, 130, 131, 132, 139, 141, 169, 175, 193, 261, 299, 348, 366, 367, 377, 386, 427, 435, 445, 447, 450, 477, 487, 502, 519, 523, 529, 545, 548, 551

Schubert, Franz (1797–1828)

Op. 90/D899, Op. 142/D935, Op. 94/D780 (Niemann)

• Impromptu in G flat

Op. 90 (D899) No. 3.............................................................EP 73160

Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score. • Sonatas (Weismann/Erber)

Vol. 1........................................................................................EP 488c Sonatas in A min Op.42/D845; D Op.53/D850; A Op. 120/D664; E- Op. 122/D568; A min Op. 143/D784; B Op. 147/D575

Vol. 2........................................................................................EP 488d Sonatas in G Op. 78/D894; A min Op. 164/D537; C min D958; A D959, B- D960

Schumann, Clara (1819–1896)

Clara Schumann (née Wieck) was undoubtedly the most important female pianist of the 19th century. As a young child she toured Europe as a prodigy: her entire career as a celebrated piano virtuoso spanned more than 60 years. Equally important, but less well known, is the composer Clara Schumann, who published her Opus 1 at the age of eleven.

Despite the domestic duties expected of a woman at that time, she created numerous outstanding piano works and songs that are at least the equal of those of her male contemporaries. However, society at that time did not allow women to be regarded as fully-fledged composers or for their works to be appreciated adequately.

Beethoven (Op. 37, Op. 58) and Mozart (K 466)

Originally published in 1917 by J. Rieter-Biedermann (now Edition Peters), Clara Schumann’s cadenzas tare published in this new Urtext edition in revised versions, including the initial version of the cadenzas for Mozart’s piano concerto No. 20 in D minor from 1855 that was recently discovered by the Canadian editor and pianist Ludwig Sémerjian in the Library of Congress in Washington DC.

The history of these cadenzas also gives an insight into the relationship between Clara Schumann and Johannes Brahms which is described in detail in the preface. Illustrations of the sources are added, and detailed comments can be found in the critical commentary.

Urtext Edition by Hans Köhler

The Robert Schumann Urtext series from Edition Peters, edited by Schumann specialist Hans Joachim Köhler, is undoubtedly one of the most remarkable research achivements in the over 220 year history of the publishing house.

Hans Joachim Kohler was born in Leipzig in 1936 - the city that was home for Robert and Clara Schumann in the early years of their marriage, and where Clara was born. He is one of the most profound experts on the life and work of Robert Schumann, and was a professor until his retirement at the Hochschule for Musik und Theater Felix Mendelssohn Bartholdy in Leipzig. He is the author of numerous papers and articles on Robert and Clara Schumann.

Schumann, Robert (1810–1856)

Works for Solo Piano (Köhler) The Peters survey of Schumann’s piano music, prepared by Hans Köhler, is the most comprehensive Urtext edition in existence, presenting not only all the established favourites but also some comparitive rarities, many of which deserve to be more widely known.

The remarkable concluding essay within each volume also puts this edition in a class of its own. Packed with a wealth of fascinating historical information and analytical detail, these essays offer us an important new dimension in defining or enhancing interpretations of this perennially intriguing body of works.

• Abegg Variations in F Op. 1 ...................................EP 9501 • Album for the Young Op. 68 .................................EP 9500a

• Album for the Young Op. 68;

Scenes from Childhood Op. 15 ...........................EP 9500 • Album Leaves Op. 124;

Bunte Blätter Op. 99 .............................................EP 9505 • Allegro in B minor Op. 8 ..........................................EP 9524 • Arabesque in C Op. 18;

Blumenstück Op. 19 .............................................EP 9508 • Carnaval Op. 9 .........................................................EP 9503 • Carnival of Vienna/Faschingsschwank

aus Wien Op. 26 ...................................................EP 9516 • Concert Studies Opp. 3, 10 ....................................EP 9517 after Caprices by Paganini • Davidsbündlertänze Op. 6 ......................................EP 9502 • Etudes Symphoniques Op. 13 ...............................EP 9515 • Fantasy in C Op. 17 .................................................EP 9510 • Fantasy Pieces Op. 12 ............................................EP 9512 • 3 Fantasy Pieces Op. 111 .......................................EP 9513 • 4 Fugues Op. 72;

7 Fughettas Op. 126 .............................................EP 9527 • Gesänge der Frühe Op. 133 ...................................EP 9528 • Humoresque in B- Op. 20 ......................................EP 9514 • 10 Impromptus on a theme by Clara Wieck

Op. 5 .........................................................................EP 9523 • 6 Intermezzi Op. 4 ...................................................EP 9507 Kinderszenen: see Scenes from Childhood

• Kreisleriana Op. 16 .................................................EP 9504 • 4 Marches Op. 76 ...................................................EP 9529 • Nachtstücke Op. 23 .................................................EP 9520 • Novelletten Op. 21 ....................................................EP 9511 • Papillons Op. 2 .........................................................EP 9506 • 4 Piano Pieces Op. 32 .............................................EP 9522

Scherzo, Gigue, Romanze, Fughetta • 3 Romances Op. 28 .................................................EP 9521 • Scenes from Childhood Op. 15 .............................EP 9500b • Sonatas ‘For the Young’ Op. 118 ...........................EP 9525 • Sonatas in F+ minor Op. 11;

G minor Op. 22 ......................................................EP 9509 • Sonata No. 3 in F minor Op. 14 ............................EP 9519

‘Concerto without Orchestra’

• Toccata in C Op. 7 ....................................................EP 9518 • Waldszenen Op. 82 ..................................................EP 9526

• Piano Concerto in A minor Op. 54 .......................................EP 2898a Arranged for piano, simplified and abridged (Fisher) • Reverie (Träumerei) from

“Scenes from Childhood”...................................................EP 73161 Series: more than the score... A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn, Chopin and Debussy, right up to John Cage. Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Shostakovich, Dmitri (1906–1975)

• 24 Preludes & Fugues Op. 87

Vol. 1: Nos. 1–12 ◄ .................................................................EP 4716a

Vol. 2: Nos. 13–24 ◄ ...............................................................EP 4716b

• 24 Preludes Op. 34 ◄ ...............................................................EP 4773

Sinding, Christian (1856–1941)

• Rustle of Spring Op. 32 No. 3................................................,EP 2870

Skryabin, Alexander (1872–1915)

• Piano Works in 6 Volumes (Philipp)

Vol. 1: Studies......................................................................EP 9077a

Opp. 8, 42, 65

Vol. 2: Preludes & Other Pieces.........................................EP 9077b Preludes Opp. 11, 27, 74; 2 Poèmes Op. 32; Quasi-valse Op. 47; 4 Pieces Op. 56; Vers la flamme Op. 72; 2 Dances Op. 73

Vol. 3: Preludes & Other Pieces.........................................EP 9077c Preludes Opp.1 3, 16, 48, 67; Valse Op. 38; Pieces Opp. 45, 51, 52, 57, 59; Scherzo Op. 46; Feuillet d’album Op. 58; Poème-nocturne Op. 61; Poèmes Opp. 63, 69, 71

Vol. 4: Mazurkas...................................................................EP 9077d Op. 3 Nos. 1–10; Op. 25 Nos. 1–9; Op. 40 Nos. 1–2

Vol. 5: Sonatas Nos. 1–5......................................................EP 9077e

Opp.6, 19, 23, 30, 53

Vol. 6: Sonatas Nos. 6–10.....................................................EP 9077f

Opp. 62, 64, 66, 68, 70 • Fantasie in B minor Op. 28 (Philipp).....................EP 11103

• 12 Studies Op. 8 ...................................................................EP 9287a • Trois Morceaux Op. 2 (Philipp)................................EP 11070 • Prélude in C+ minor

& Nocturne in D- Op. 9 (Philipp)........................EP 11065 (Both for left-hand alone) • 24 Préludes Op. 11.................................................................EP 9287b • Vers la Flamme Op. 72..........................................................EP 9287f Strauss, Richard (1864–1949)

• Also sprach Zarathustra:

Opening Theme.....................................................................EP 7537 As featured in the film ‘2001: A Space Odyssey’

Arranged for Easy/Intermediate Piano

• Also sprach Zarathustra Op.30............................................EP 4193d Arranged for piano (Schmalz) • Don Juan Op.20......................................................................EP 4193a

Arranged for piano (Singer) • Till Eulenspiegels

lustige Streiche Op. 28.......................................................EP 4193c

Arranged for Piano (Singer) • Tod und Verklärung Op.24....................................................EP 4193b

Arranged for Piano (Singer)

Tchaikovsky, Pyotr llyich (1840–1893)

• Selected Piano Works in 3 Volumes (Weitzmann)

Vol. 1.....................................................................................EP 4652 Scherzo à la Russe Op. 1 No. 1; Capriccio Op. 8; Theme & Variations Op. 19 No. 6; 6 Pieces on a Theme Op. 21; Dumka – Russian Rustic Scene Op. 59

Vol. 2....................................................................................EP 4653 Ruines d’un château Op. 2 No. 1; Chants sans paroles Op. 2 No. 3 & Op. 40 No. 6; Romance Op. 5; Valse-scherzo Op. 7; Polka de salon Op. 9 No. 2; Mazurka de salon Op. 9 No. 3; Nocturne Op. 10 No. 1; Humoresque Op. 10 No. 2; Rêverie du soir Op. 19 No. 1; Feuillet d’album Op. 19 No. 3; Nocturne Op. 19 No. 4; Chanson triste Op. 40 No. 2; Valse Op. 40 No. 9; Danse russe Op. 40 No. 10; Impromptu-caprice; Valse-scherzo in A (No. 2);

Impromptu in A-; Aveu passioné

Vol. 3....................................................................................,,,EP 4654 Polka peu dansante Op. 51 No. 2; Natha-valse Op. 51 No. 4; Romance Op. 51 No. 5; Valse sentimentale Op. 51 No. 6; Dialogue Op. 72 No. 8; Berceuse Op. 72 No. 2; Impromptu Op. 72 No. 1; Tendres reproches Op. 72 No. 3; L’espiègle Op. 72 No. 12; Danse caractéristique Op. 72 No. 4; Un poco di Schumann Op. 72 No. 9; Echo rustique Op. 72 No. 13; Un poco di Chopin Op. 72 No. 15;

Valse à cinq temps

• Album for the Young Op. 39...................................................EP 3782

"A while ago I thought that it would not be a bad idea to make a small contribution to the stock of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann's."

So wrote Tchaikovsky about his charming collection of short pieces for young pianists. Walter Niemann's classic edition for Edition Peters is a perfect resource for teachers and early-years pianists, a high-quality book designed with the needs of the practical musician foremost in mind.

Morning Prayer; Winter Morning;The Little Rider; My little Mother; Soldiers march; The Ill Doll; The Doll's Funeral; Waltz; The New Doll; Mazurka; Russian Song; Song of the Peasant; Folk Song; Russian Dance (Folk Song); Polka; Italian Song Old French Song German Song Neapolitan Dance Tune; Old wives' tale; The Witch; Sweet Reverie; Song of the Lark; TheHurdy-Gurdy Man; In Church

• Concerto No. 1 in B- minor Op. 23.....................................EP 3775a

Arranged for piano, simplified and abridged (Fisher) • The Seasons Op. 37a .............................................EP 8968

Tchaikovsky's cycle of short piano works, The Seasons, was written in response to a commission from a journal La Nouvelliste whose editor wanted a new piano piece for each month of 1876. This Edition Peters publication is ideal for the practical musician in search of a reliable text.

With elegantly laid out notation, the edition also includes practical fingering suggestions, and includes the poetic epigraph at the head of each piece in Russian and German.

Am Kamin – January; Karneval – Feburary; Lied der Lerche – March; Schneeglöckchen – April; Helle Nächte – May; Barkarole – June; Lied des Schnitters – July; Die Ernte – August; Die Jagd – September; Herbstlied – October; Troika-Fahrt – November;

Weihnachten – December • June from “The Seasons” Op. 37a.......................................EP 73162

Series: more than the score...

A series of classic piano music, covering much of the essential repertoire from Bach through Mozart, Schubert, Mendelssohn,

Chopin and Debussy, right up to John Cage.

Each volume focuses on one piece, with written masterclasses and back ground information encouraging an exploration of the music – beyond the printed score.

Waldteufel, Émile (1837–1915)

• Skaters’ Waltz Op. 183...........................................................EP 5100